12 July 2009 - 27 September 2009


Under the conceptual framework of Architrope, Tom Wolseley will be showing CABIN/ET, funded by Arts Council of England, sponsored by MAERSK and supported by Hackney Council. It is a recycled shipping container in the Hackney Road Recreation Ground, next to the gallery. It will be seen from the gallery and accessed from Hackney road.
It will be the central focus of a series of projects during the months of July, August and September.

Shipping containers are the silent catalyst of globalisation. With 17 million containers in the world, there is are a billion cubic metre of space, equivalent to a city the size of London, constantly on the move. Through the theme of �transitional spaces�, CABIN/ET aims to explore how we might locate ourselves in this new geography.

The recycled container bears the scars of its trans-global drift, perched on four specially made cast iron pedestals. Inside it is lined with plywood, that also, makes up furniture, shelves and seats. CABIN/ET will look and feel like the idealized space of a cabin, distant and remote. It is a found and transformed sculptural object. Conversely it makes reference to the �Cabinet of Curiosities� � the 18c proto museums that sought to represent the world with often spurious artefacts. CABIN/ET project will create �transitional spaces�: between physical and psychological representations of the world.

Architrope is the conceptual framework that facilitates and contains the practice of TOM WOLSELEY.
His practice spans photography, video, narration and installation. Architrope allows these diverse strands to come together in a single framework and forms a collaborative practice which will include the work of Camilla Lyon, and Claire Stent amongst others and will include participation from members of the public. This project is known as CABIN/ET.


Signs and Borders

6 August - 6 September 09

Clare Stent traces contour maps of the cities of the world, in this case London, recording a reality hidden subliminally below the buildings but experienced in ones passage around the city everyday.
They act like remembering a half forgotten landscape, contours known but until seen not realized. They bring this subliminal landscape to the surface.
Stent traces the maps using carbon paper, and in that slow repetitive action familiarizes herself with the geography of the broader city, like walking it, until she knows it, 'like the back of her hand'.


Camilla Lyon creates objects by tracing the lines that follow the grain of found Formica furniture, producing objects delineated by tree rings once specific to time and place duplicated into eternity as a decorative surface.
The mirrored 'veneer' objects are like Rorschach tests or maps without territories.


'Border Town' revolves around the view from a caf� window in a small Mexican town on the border with the US. The caf� has a mirror that intersects with the window. As the cars travel up and down the main street to the Mexican US border, they appear and disappear into the junction of window glass and mirrored reflection. The LCD screen is itself intersected by another mirror, creating a kaleidiscopic view, exploring the 'border' as physical and psychological intersection more complex than a line in space.

Opening Thursday - Sunday 12:00 - 18:00